Thomas Windisch Problème fondamental de la tradition philosophique occidentale, la justification de l’existence du mal dans le monde est un thème inépuisable pour le philosophe. Particulièrement d’actualité au moment où les effets directs et indirects de la pandémie mondiale de COVID-19 n’épargnent personne, la forme de ce questionnement a évolué au fil des révolutions philosophiques. Le présent article tente de se replacer à la fin du xviiie siècle pour prolonger la parole du poète Friedrich Hölderlin à partir d’une réinterprétation du (...) mal kantien. En adoptant une perspective à la fois philosophique et littéraire, il est possible de démontrer comment le concept d’unité, compris à l’aune du Beau, se révèle en tant que cause irrémédiable, mais justifiée, du mal vécu par l’humain. À partir de son roman Hypérion, Hölderlin nous proposerait une théodicée tacite qui, sans renier les critères épistémologiques de la philosophie kantienne, lui échapperait, autant qu’à toute justification exclusivement philosophique de l’existence du mal tentée depuis la modernité. (shrink)

In this article I ask how fruitful the concept of alienation can be for thinking critically about the nature and causes of the contemporary environmental crisis. The concept of alienation enables us to claim that modern human beings have become alienated or estranged from nature and need to become reconciled with it. Yet reconciliation has often been understood—notably by Hegel and Marx—as the state of being ‘at-home-with-oneself-in-the-world’, in the name of which we are entitled, perhaps even obliged, to overcome anything (...) in nature that is alien to the human mind. This approach to alienation derives ultimately from the German Idealist philosopher J. G. Fichte. I explore an alternative conception of alienation and reconciliation to be found in the work of the Early German Romantics, especially Friedrich Schlegel and Novalis. The Romantics think of reconciliation as including a dimension of alienation, in the form of an awareness that nature is greater than and exceeds the understanding of human beings, insofar as we are merely limited parts of the all-encompassing whole that is nature. I argue that this is a more fruitful approach to alienation and reconciliation than that pursued by Fichte, Hegel, and Marx. (shrink)

Novalis, the Early German Romantic poet and philosopher, had at the core of his work a mysterious depiction of the ‘absolute’. The absolute is Novalis’ name for a substance that defies precise knowledge yet calls for a tentative and sensitive speculation. How one asserts a truth, represents an object, and sets about encountering things in the world, is in the first instance the domain of the absolute, which diffuses through all things in the world. In this article, I begin by (...) describing the absolute in general and I outline its importance in Novalis’ works. I then speculate on its natural tendency to render an object mysterious and fundamentally unknowable. Although the absolute also allows us an insight into an object, my attention in this article is drawn to its concealment in mystery because, as Novalis was at pains to indicate, the Enlightenment has been more than generous to the clear perception of an object. I turn to consider the poet—a most important political character in Novalis’ works—and their Bildung of themselves and their communities. They bring their communities to continual maturation through their role in romanticising the ordinary world and through their need to consistently reflect on, and be aware of, the absolute. They also develop themselves in their ongoing state of mystery as they carry out their political and poetic responsibility. (shrink)

In its relationship with that which might be considered to exist beyond the perceived limits of philosophical discourse—for the sake of brevity let us call it the Absolute—Early German Romanticism tends to be presented either as mystically positivistic and therefore wholly unphilosophical, or as philosophically informed and committed to a sort of critical antifoundationalism that offers, at best, a negative non-relation to the Absolute. Naturally enough, these two opposing positions give rise to opposing reconstructions of Romantic aesthetics. Whilst broadly in (...) agreement with the latter interpretation, this article argues, in relation to Friedrich Schlegel, that in the rush to establish the philosophical credentials of Frühromantik, some of its complexity has been jettisoned and along with it a more accurate understanding of the guiding spirit of Romantic aesthetics. Drawing on Fichte and Walter Benjamin, it will be argued that Schlegel's notion of the Wechselerweis is intended to bridge the ideal and the real in a positive experience of negation and that his much-vaunted aesthetics amounts to an attempt to develop a philosophico-literary form that would be able to express or, rather, perform precisely this. (shrink)

Above all else, Hegel can be said to be the master of context, the philosopher who insisted that properly understanding anything involves putting it in its full context, reconstructing its development and its relation to all that is around it. From the beginning of his career, Hegel did not hesitate to put into its place the work of his fellow philosophers; his analysis, critique, and supersession of them occurred all at once, and culminated when he located them within hisPhenomenology of (...) Spiritand the final system of hisEncyclopedia. Long after Hegel's own era, and even after the sharp decline in the appeal of his specific system and of ambitious systematic philosophy in general, a looser form of Hegel's contextual approach remains very popular, and with good reason. Without giving in entirely to this approach, it is hard to resist the temptation to turn the tables on Hegel himself a bit. Hence, in casting a philosophical glance at the specific phenomenon of Hegel's own aesthetics, in an attempt to begin to evaluate just a few of its most distinctive characteristics, I will proceed by first offering a sketch of how I believe his philosophy as a whole should be situated in the context of its own age and the development of German philosophy in general.Of course, my own interpretive perspective has its own context, external and internal. The external context is furnished by two other accounts providing slants on Hegel's aesthetics, slants that I believe are very understandable but in the end inadequate. The first of these slants is given by what I will call the “standard account,” which buys into most of Hegel's own characterization of his aesthetics as largely a welcome “objective” corrective to the supposedly “subjective” approach of Kant and the allegedly even more radically “subjectivistic” and arbitrary approach of the German Romantics. The second slant is to be found in Jean-Marie Schaeffer's recent book,Art of the Modern Age: Philosophy of Art from Kant to Heidegger. Schaeffer accepts much of the standard account, but he goes on to argue in an original way that the main aesthetic tradition of Germany — after Kant, from the early Romantics to Hegel and others until Heidegger — shares a large set of influential and highly questionable “speculative” presumptions, and that the sharing of this speculative approach is far more significant — and unfortunate — than whatever incidental differences can be found between various figures within this tradition. (shrink)

This thesis is about the way aesthetic thought changed or developed in Germany in the years immediately after the publication of Immanuel Kant's third critique - A Critique of the Power of Judgement. Besides many comparatively minor developments, it identifies three important changes in aesthetic thinking after Kant. Firstly, there was an increased emphasis on the integrated and interdependent nature of the human thinking that Kant had been more concerned to classify and analyse. Secondly, the change in aesthetics marks the (...) change from Enlightenment classicism to Early German Romanticism. Thirdly, the role of aesthetics itself changed, from attempting to define the concept of beauty and explain how we perceive it, to claiming that aesthetics is concerned with humanity's search for meaning in the work of art. This last development amounts to a suggestion that the hermeneutic strand in philosophy grew out of early post-Kantian aesthetics. Three thinkers have been selected as a means of showing these changes. They are Friedrich Schiller, the poet and dramatist, Friedrich Holderlin, the poet, and Friedrich Schlegel, the literary theorist and essayist. Chronologically, our period begins in 1793 and ends about 1800, just before the death of Kant, the death of Schiller, the mental collapse of Holderlin, and with the final editions of Schlegel's literary journal, Athendum. This timespan allows a fairly close study of Schiller's influential series of essays on philosophical aesthetics, which he wrote in direct response to the Third Critique, re-examining Kant's claim that the judgement of taste is subjective, and expanding Kant's account of how it is possible to create works of art and also of Friedrich Holderlin's and Friedrich Schlegel's most productive years, when both worked out aesthetic theories that moved onwards from Schiller, but nevertheless remained indebted to Kant in several respects. (shrink)

Resumo: Este artigo busca compreender a situaçáo filosófica de alguns dos autores cujas vidas e cujos pensamentos estiveram entre Kant e Hegel. Romantismo alemáo foi como ficou conhecida esta época. Dentre seus primeiros autores, estiveram Friedrich Schlegel e Novalis, além de Hölderlin. Tais pensadores buscaram superar a crítica feita por Kant à pretensáo do conhecimento filosófico de alcançar a verdade absoluta, as coisas como sáo em si mesmas. Essa superaçáo, contudo, jamais conseguiu, para eles, completar-se – como aconteceria depois no (...) sistema de Hegel, para quem contradições só seriam aceitas como etapas do que chamou de dialética, cuja essência era, ao fim, solucioná-las na figura da síntese. Limitaçáo finita do homem diante do todo do ser, como firmara Kant, era o que ficava para trás com Hegel. Schlegel, Novalis e Hölderlin náo se contentam com a crítica de Kant, mas tampouco acreditam na síntese de Hegel. Parecem sugerir outro caminho para a modernidade ocidental, que náo se jogava na sanha hegeliana pelo saber absoluto sem despertá-la, toda vez, pela consciência crítica kantiana – e que náo se contentava com esta sem sonhar com aquela. Tal caminho é o que este artigo busca compreender. Palavras-chave: Hegel; Kant; Romantismo. (shrink)